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When Kali Uchis picked the orchid as the title and theme of her new album Orquídeas, which arrived on Friday (Jan. 12), she didn’t know it was the flower of fertility. And then, later in her rollout, she found out she was pregnant with her first child, telling Billboard News, “It all came together perfectly.”
“The flower, for me, it always symbolized timelessness, femininity, luxury,” says the Colombian artist. “It has an eerie, mystical quality about it as well. It’s also the national flower of Colombia, so for me it all tied in.”
Orquídeas is Uchis’ fourth album and second Spanish-language full-length (she typically switches between English and Spanish on each project). Features include her friend Karol G (“Labios Mordidos”), plus Peso Pluma (“Igual Que Un Ángel”), Rauw Alejandro (“No Hay Ley Parte 2”) and the “unpredictable” pairing of City Girls’ JT alongside El Alfa (“Muñekita).
The Grammy winner debuted in 2018 with Isolation, followed by Sin Miedo (del Amor y Otros Demonios) in 2020 and last year’s Red Moon In Venus. She believes that Orquídeas, defined by its uptempo, high-energy productions, perfectly compliments those prior albums.
“I’m not a new artist anymore, I’m looking at my discography as a whole,” she says. “My next album that I’ve been working on that is also going to come out this year is all downtempo music. So being able to have to contrast, there’s so much within me that needs to be expressed and I never want to confine myself to anything.”
She confirms that forthcoming fifth album was written and recorded while pregnant, which is perhaps where the inspiration for a more soothing, lower energy release came from. And while she says “there’s so much to be excited for” about motherhood (she will soon welcome her first born with longtime partner Don Toliver), she also admits how hard it was to keep her pregnancy private, saying she still had a few shows and a red carpet appearance on her calendar — both of which made it harder to hide her growing baby bump.
Balancing her professional life with her private one has always been a priority to Uchis, who says she most looks up to Sade for how she walks that line. “It is such a fine line between trying to understand how much of ourselves are we really meant to share, or do we really feel comfortable sharing. And at the end of the day, I really thought it was strange that there is such an expectation on an artist to share their personal life,” says Uchis. “I try to remember that my music is supposed to be in the forefront, my private life and personal matters, I really don’t want that to be something that’s consuming or overshadowing my work.”
And as someone who puts their art first — and who has always embraced her bicultural upbringing along the way, having been born and raised in Virginia — Uchis has become a safe space for others who hope to do the same. “There’s a lot of artists who sing in Spanish who are English speakers primarily and they’ve come to me like, ‘You really make me want to make music in English too. I’ve always wanted to but my label doesn’t want me to do that because this or that is what sells for me,’” she says. “I think as an artist, what’s most important always is the thought of no limitations…I feel like everyone should be as free and creative as possible.”
Watch the full interview above.
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Not your average shades! Maluma is seeing things differently thanks to Ray-Ban Meta smart glasses.
The “Según Quién” singer, who stars in the campaign for the latest iteration of Meta‘s smart glasses, likes wearing them because they allow him to share his “unique point of view” with fans.
“They’re super simple to use and feel like the average pair of sunglasses, except now I am more present,” the 29-year-old singer explained in an email interview with Billboard before heading back home to Colombia for the holidays.
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“My favorite thing about the glasses is that I can share my unique point of view while living my life, enjoying moments with family and friends and even while on stage.”
Ray-Ban and Meta tapped Maluma, Erykah Badu, Coi Leray and Coco Gauff to launch the newest installment of smart sunglasses. The Meta Wayfarer and Meta Headliner smart glasses are available in seven different colors, including shiny rebel black with amber lenses, shiny black with clear lenses, matte black with clear/green lenses, shiny caramel with brown lenses, matte jeans with dusty blue lenses, matte black with graphite lenses and shiny black with green lenses.
“I wear glasses all the time, so I like to match the glasses with my outfit but also the vibes of the day,” he explained of his favorite style of glasses. “Sometimes I wear a classic Wayfarer and other moments I go bold and bright. I even wore the Ray-Ban Meta Wayfarer during my Latin Grammys performance [last November].”
Offering a hands-free way to capture, share, and livestream, the second-generation Ray-Ban Meta smart glasses lets you take 12MP photos, 1040p videos, answer phone calls and engage with AI. You can snap photos, record video and livestream on Facebook and Instagram with the glasses, which offer up to four hours of battery life (they come in a chargeable case) and are available on Ray-Ban.com starting from $299.
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Performing at Carnegie Hall is only a dream for most artists in the world. Soon Andrés Cepeda will be able to say that he has done it not once but twice — and in less than two years — when he returns to the iconic New York City venue on May 1.
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“I would have really liked it if my parents, who are no longer with me, had seen me get there,” the Colombian singer-songwriter tells Billboard Español. “They also dreamed of stages like that.”
The show is part of his upcoming Tengo Ganas Tour, a 19-date engagement in the U.S. that starts in Nashville on April 9 and includes cities like Chicago, Los Angeles, Miami and Washington, D.C., before concluding on May 4 in Charlotte, NC. Countryman singer Alejandro Santamaría is coming along with him. (For more information and tickets, visit andrescepeda.com.co)
Tengo Ganas follows his tour La Ruta Púrpura, which began in October 2022 precisely with that dreamy sold-out concert at the Carnegie Hall.
Cepeda, who won his fourth Latin Grammy in November (best traditional pop album, for Décimo Cuarto) and returned this week as a judge on La Voz Kids “Colombia,” began his career with Poligamia, a Latin rock-pop band which he founded with some friends during his teenage years, releasing several albums in the ’90s.
Since debuting as a solo artist with the set Sé Morir in 1999, he has recorded a dozen albums and released hits including “Tengo Ganas,” “Día Tras Día” and “Beso Usados.” And he’s been the only artist to fill the Movistar Arena in Bogotá, the largest stage in Colombia, for five consecutive days. On the Billboard charts, he has had two Latin Pop Airplay entries: “El Mensaje” in 2013 (No. 38), and “Magia” with Sebastián Yatra in 2018 (No. 37).
In an interview from Miami on Thursday morning (Jan. 11,) Cepeda spoke with Billboard Español about his upcoming tour, his creative process and his first album under Warner Music Mexico, which he will begin recording next month.
1. Most artists prefer to give interviews in the afternoon. It’s 9:30 am. Can we assume that you are a morning person, or was this circumstantial?
I’m used to starting early when we’re on promo, because we also do a lot of things in the afternoon. So to make the most out of our working day, we start early.
2. How do you usually wake up? Biological clock or alarm?
I set the alarm, but my biological clock usually wakes me up a few minutes early. You know, you kind of program yourself and wake up but, just in case, it’s better to set the alarm. And that alarm is music. For a couple of years now I have had a song that I love by The Beatles that has a beautiful personal meaning for me, “Here Comes the Sun.” Of course it doesn’t reflect much of today’s [rainy] weather [laughs]. But I like that song.
3. On April 9, you start your Tengo Ganas Tour in the U.S. How do you prepare for that?
Well, there is a stage of a lot of rehearsal, of a very strict curation of the songs, the arrangements, what is going to be presented, the staging, the narrative that accompanies the songs — because it is not just getting up and singing them, but being able to tell people a little about them and how one comes to make all this music and all these songs. So there is a part, let’s say, of writing and narrating that narrative — and then along the way, for me it is vital to have a good few hours of sleep and a good diet. It gives you the possibility of facing a series of consecutive dates that are still demanding.
4. What can you tell us about the show itself compared to the previous one?
The previous show was focused on the acoustic aspect of my career, with boleros and other Latin rhythms even flirting a little with jazz, in a format that was composed of acoustic piano, double bass, winds and guitar. This time I present the other side of the coin, so to speak, which has to do with my influence, which is pop and rock. Although they have in common the romantic nature of my stories and my music, they are two different sounds that have accompanied me throughout my career.
5. What will be Alejandro Santamaría’s role on the tour? Will you be sharing the stage or will he serve as an opening act?
Both. He is going to be the opening act at the shows, and he is also going to be invited in the section that I sing because we have recorded music together, so we will be singing a couple of the songs that we have done and he will be accompanying me throughout the journey of this tour.
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6. For many, the Carnegie Hall is just an unattainable dream. You already performed there in October 2022 with a sold-out show and you are returning on May 1. How did you get to play on this venue and what does it represent for you?
We were very fortunate to present our proposal to the Carnegie Hall curatorial committee two years ago. We explained what we wanted to do, we presented our resume, and they thought it was interesting and that it was worth having us there. And it went so well last year — it was sold-out and they liked it a lot — so they told us that if we wanted to come back the doors were open. For us it is a great honor. It is an iconic venue, a dream, a goal. I would have really liked it if my parents, who are no longer with me, had seen me get there, because they also dreamed of stages like that.
7. Last November, you won your fourth Latin Grammy. Do these types of recognitions continue to surprise or excite you?
It’s not something you get used to. I thought at some point that it could be like that, but no. It is becoming more and more exciting because it is the sum of several prizes, so you receive them with great joy, great emotion, great expectation. I have to confess that the days before an award ceremony, and on the day of the award ceremony, my hands sweat, the anxiety is incredible. In some way you suffer a lot waiting to see what happens … and when you receive it you celebrate with great joy. Especially when it’s an award for an album, which honors the entire team.
8. Let’s talk a little about your songwriting process. Each song has its own story, but in general, what is the common denominator?
Perhaps the common denominator is that I always look for a space of disconnection, a lot of peace, a lot of silence, where I can isolate myself from the everyday life and the rest of the world. But it is always different in the sense that sometimes I write with others, sometimes the lyrics emerge first or sometimes the musical idea emerges first. Normally in my case, when I work alone, the musical idea comes first, and then I find the path to what I want to say.
9. What was the song that came out the fastest, the one that sort of wrote itself?
[Laughs.] Some of them write themselves and it is surprising, because you feel like they are moving your hand, yes. There is one song in particular that I love very much that I wrote in one pass, and when that happens it is something exceptional. It’s a song called “Ciertas Cosas.” Another one that came in a single pass, like an instant song, was “Sé Morir.” But there are others that you have to work on for a full day or several days, or you even start writing and let some days or weeks pass before returning to it to complete it.
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10. The most difficult or the one that took the longest to complete?
A song from my last album [Décimo Cuarto] that I sang and wrote with a Colombian artist that I love very much, Greeicy Rendón, [“Le Viene Bien”]. The entire process of writing, producing and making the video took two years. When we went into the studio to record it we were still making corrections and things.
When you write with someone else and you have the possibility of debating and somehow negotiating each of the verses, one would think that it’s a tedious process, but on the contrary, it is very pleasant to sit down and bid for what each one wants the song to say. Those discussions are fantastic.
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11. And does it happen to you in cases like those that you hear the published song later and still go, “Ugh, I should have used this other word”?
That happens and you have to learn to let go, because if you focus so much on making it perfect… And not just with the lyrics! With the music, it happens a lot that you are in the studio and you don’t get over that process and you want to fix it and re-record the piano and voice again because you want this part to be better. You start to go crazy. Sometimes you have to understand that the song is ready and let it go.
12. What achievement, song or album would you say marked a turning point in your career?
There’s a song [from 2014] that did that in my career, and put me in a different place mentally, in the creative process. It’s a song called “Día tras día.”
13. I am going to tell you a series of words and I want you to answer the first thing that comes to your mind. Poligamia.
The cradle! The hatchery, so to speak. The beginning of a career.
14. Bogota’s Movistar Arena.
Five absolutely unforgettable nights in my career and in my life. A week on a honeymoon with my own city.
15. Colombia.
The love of my life, with whom I have great romances but also strong arguments at times.
16. As an artist and as a judge for La Voz Kids, any message or advice for young people who aspire to have a career in music?
First, that it is very much worth it. And second, that it is worth it as long as you commit to it, take it very seriously, study and understand that it is a career. The more prepared you are, the more competitive and deeper you can become. Talent and vocation are just a small part of what is needed to achieve something in this profession; I think dedication, persistency, perseverance and preparation are an even bigger part than the other.
17. You’re going back to the studio to work on a new album in February. How many songs have you already written?
This album should have 10 songs and there are 14 written, so we’ll go into a selection process in which I plan to allow myself to have 12. But the initial project is 10.
18. How do you expect this album to be different from the previous ones?
On the artistic side, I think that each album has to reflect a different moment in life and also a maturity, because there has to be an evolution. And on the show business side, I think that working with a new team, which in this case is Warner Music, is going to bring very nice things and is going to project me even more. I have a lot of faith in the team that is helping me make this album and promote it.
19. Speaking of maturity, last summer you turned 50. What have you learned about yourself in this half century?
[Laughs.] That although I have acquired some maturity, one of the most beautiful things about that maturity is understanding that I am still a child facing my job and facing many aspects of the world, which, thank God, continue to amaze me. And I think maintaining that wonder, ironically, is a sign of maturity.
20. What is Andrés Cepeda still looking forward to?
To live. And to make music.
This week, our New Music Latin roundup — a compilation of the best new Latin songs, albums and videos recommended by Billboard Latin and Billboard Español editors — is powered by new music from Omar Courtz, DannyLux, GALE and Kali Uchis’ highly anticipated, mostly all-Spanish album Orquídeas. Omar Courtz teams up with hitmaker Haze for “UNA NOTi,” a mid-tempo reggaeton track fused with catchy synth […]
New Music Latin is a compilation of the best new Latin songs and albums recommended by Billboard Latin and Billboard Español editors. Check out this week’s picks below.
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Kali Uchis, Orquídeas (Geffen Records)
Dripping with opulent sensuality, Kali Uchis’ Orquídeas unfolds as an elegant outing that pays homage to Colombia’s national flower. Symbolizing timeless allure and mystic grace, this 14-track venture seamlessly blends soulful melodies, mirroring the delicate, exotic, and graceful nature of the orchid itself. Her fourth LP and second mostly Spanish album effortlessly traverses a spectrum of styles, from the Afrobeat rhythms of “Diosa” to the hauntingly beautiful bolero of “Te Mata,” further revealing the artist’s versatility while never losing her essence. Notably, she unveils another layer of her life’s tapestry in the music video for “Tu Corazón Es Mío” / “Diosa,” where Kali Uchis shares her first pregnancy with longtime partner and rapper Don Toliver.
On the grooving, bass-driven “Heladito,” the Colombian American star explores an untapped niche of neo soul en español that can only work with singers like her. Teaming up with Rauw Alejandro on “No Hay Ley Parte 2,” she trades the house beats of her 2022 work for a pulsating reggaetón thump. Meanwhile, “Igual Que Un Ángel” sees Uchis’ voice soaring to celestial heights, accompanied by Peso Pluma’s R&B-infused contribution. The sultry reggaetón cut “Labios Mordidos,” featuring Karol G, brings together two Colombian femmes fatales in a scintillating display of risqué flirtation. Across the album, the multi-faceted songwriter and now expectant mother delivers poignant lyrics entwined with supreme production that lingers in the soul long after the final note. All this while embracing the beauty of creation and growth, much like the orchids she pays homage to. — ISABELA RAYGOZA
DannyLux, “Un Día Entenderás” (Warner Music Latina)
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Mexican American artist DannyLux is kicking off 2024 by previewing what fans can expect in the deluxe version of his 2023 set, DLUX. “Un Día Entenderás” is an emotions-first song, which allows the 19-year-old singer-songwriter to sing about heartbreak. While DannyLux sticks to his his signature sierreño sound, powered by acoustic guitars, he’s also incorporated some brassy instruments giving his style a new twist. “I made this song to tell a story about trying so hard to save a relationship, but in the end, nothing works,” DannyLux said about the track. “It’s like one of those situations where all you want to do is make them happy, but you start to lose yourself.” — GRISELDA FLORES
GALE, “Inevitable” (Sony Music Latin)
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Puerto Rican singer-songwriter Gale pays tribute to Shakira’s 1998 rock power ballad “Inevitable,” adding fresh air to the beloved classic song from the Colombian singer’s iconic album Dónde Están los Ladrones? Gale’s version starts with a soft, eclectic acoustic guitar with her dreamy pop and ethereal vocals leading the way, and then transitions into futuristic electronic sounds. Gale first performed this version in November at the 2023 Latin Grammy Best New Artists showcase in Seville, Spain. — INGRID FAJARDO
No Te Va Gustar & Zoe Gotusso, “Me Cansé” (Elefante Blanco)
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Uruguayan group No Te Va Gustar merges with Argentine singer-songwriter Zoe Gotusso in a holistic collaboration that embraces the essence of Latin American funk and rock in their latest single, “Me Cansé.” Produced by Nico Cotton, the song captivates with a melody led by a trumpet, in addition to Gotusso’s soulful interpretation and the harmonious mix of voices. The lyrics, written by the band’s bassist, Guzmán Silveira, express in one of its verses: “I’m tired of you wanting to smoke the fresh air that the wind brings us/ I’m tired of you wanting to drink the whole river, the whole sea as if thirsty.” The song’s accompanying video offers an intimate look at the recording process in the studio, revealing the friendship between the talented artists. — LUISA CALLE
Carin León, Keith Urban & Rosario Flores, “Si Me Llevas Contigo” (Universal Music Latino)
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Carin León, Keith Urban and Rosario Flores, three of the biggest stars of Música Mexicana, country music and flamenco, respectively, join forces in this evocative bilingual song for the soundtrack of the Prime Video series Zorro, which premieres Jan. 19 in the U.S. and Latin America, and on Jan. 25 in Spain. Written and produced by Julio Reyes Copello, “Si Me Llevas Contigo” starts with León singing in Spanish over a guitar riff that projects an aura of suspense: “Fire, blood and dust between my fingers, and in my soul pieces of steel/ In the night I am, I go through storms, I go on battle, and this is my destiny.” Flores’ iconic flamenco voice is immediately heard (“I get lost in evil, I get lost in good, I get lost in your skin, at night, during the day,” she sings), followed by Urban, who begins a verse in English to which the rest quickly join in: “Don’t you know that I’m not afraid of dying.” It is an explosive mix full of mystery and sensuality. — SIGAL RATNER-ARIAS.
Omar Courtz, “UNA NOTi” (Mr. 305 Records)
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For his first release of 2024, Omar Courtz teamed up with hitmaker Haze for a mid-tempo reggaetón track fused with catchy synth beats titled “UNA NOTi.” Backed by lots of Puerto Rican lingo, the song narrates the story of having chemistry with someone and wanting to hang out with them at all times. “’UNA NOTi’” is inspired by the ‘jangueos’ and ‘chinchorros’ of Puerto Rico and those nights when you go out with your partner to dance and vibe all night long,” Courtz, named one of Billboard’s Latin Artists to Watch in 2024, said in a statement. “Showing the intimacy you can have with someone who makes you feel like you’re high just by their very presence.” — JESSICA ROIZ
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A sea of tweens and teens (with a few parents in tow) covered every inch of Chicago’s Aragon Ballroom on Nov. 17. Those closest to the stage had stood outside for hours, braving the rapidly dropping temperatures of a typical Midwest fall day as they waited in an entry line that circled around the block. They were there for a therapy session with Ivan Cornejo, the 19-year-old Mexican American artist who has become the unofficial therapist for a generation, providing a healing space at his shows with songs about love and heartbreak. Cornejo, who is soft-spoken and considerably shy, looked the part of a therapist clad in gray slacks, a dark dressy shirt and a piece of fabric wrapped around like a headband that has become part of his signature onstage look.
That night was his second sold-out show at the Aragon as part of his U.S. Terapia Tour, and it was indeed therapy for the fans in attendance, who shed a few tears throughout the night while also singing every song at the top of their lungs. Cornejo performed his Gen Z-approved anthems, like “Donde Estás (Where Are You)” and “Perro Abandonado (Abandoned Dog),” powered by moody sierreño guitars, but he also covered the 2006 folk-pop classic “Hey There Delilah” by the Plain White T’s and Jesse & Joy’s 2011 Latin pop ballad “¡Corre!,” showcasing the remarkable versatility that has made him one of regional Mexican music’s most eclectic acts today.
Born in Riverside, Calif., to Mexican parents, Cornejo epitomizes the modern música mexicana artist. He has embraced the traditional instruments, including the requinto and other acoustic guitars, that have long powered the regional Mexican sound, but has also given the enduring genre an alternative edge, incorporating electric guitars and darker, emo-like lyrics for a sad sierreño approach that has connected with his young and zealous fan base.
“A lot of my influences came from regional Mexican, but it is hard to just identify as just that,” says Cornejo, who broke out in 2021 with his first single, “Está Dañada (She Is Damaged),” which landed him a No. 1 entry on Billboard’s Latin Songwriters chart dated Oct. 30, 2021, while also becoming the second regional Mexican song to appear on the all-genre Hot 100. “All the genres that I listen to, like country and rock, have inspired me. My sound is regional Mexican with a twist.”
His experimentation has paid off. The singer-songwriter has placed 13 songs on the Hot Latin Songs chart, and his second album, Dañado, was No. 1 on Regional Mexican Albums for 37 nonconsecutive weeks, the fourth-most since the chart launched in 1985. The 2022 Billboard Latin Music Awards crowned him new artist of the year, he has generated 1.6 billion on-demand official streams in the United States, according to Luminate. Cornejo landed at No. 10 on Billboard’s 2023 year-end Top Latin Artists chart.
This digital cover story is part of Billboard’s Genre Now package, highlighting the artists pushing their musical genres forward — and even creating their own new ones.
In August, following his Lollapalooza debut and on the heels of his Terapia trek, Cornejo signed with Interscope Records (he was previously signed to independent label Manzana Records), a significant and timely partnership for the mainstream label that, two months before, had added Karol G to its roster. Signing Cornejo felt like an acknowledgement of Mexican music’s global expansion in the past year, which has been led by a new generation of artists like Cornejo who are evolving the genre’s look and sound. In the first half of 2023, overall consumption of regional Mexican music jumped 42.1%, topping all other genres but K-pop.
“I’ve worked in Mexican music for many years and if you tried to step out of the regional Mexican circle 20 years ago, you would get punished,” explains Interscope executive vp Nir Seroussi. “I’m open-minded, but it was hard to think how the next generation would connect with this style of music. Now, here’s this kid who is borrowing from the roots and making it his own and there’s nothing forced about it. It feels powerful and authentic. Ivan could’ve chosen any other path, folk or indie rock, but for whatever reason, he chose regional Mexican as his starting point. But it doesn’t define him — he is defined by his songs and his guitar. I see Ivan expanding the range of Mexican music and that’s what makes it so much fun nowadays.”
After wrapping up his tour on Nov. 22 with a record-breaking concert at Toyota Arena in Ontario, Calif., becoming what the venue says is the highest-selling single Latin music show in its history, Cornejo is now focused on recording his third album — which he promises will be even “bigger” than Dañado thanks to “improvements musically and lyrically.” While the core of his sound will continue to be Mexican music, he isn’t letting genre labels box him in, and is eager to experiment with reggaetón and house music: “I have a lot of respect for artists that can do more than one genre. It’s not easy.”
Michael Buckner
While your music often falls under the música mexicana label, your sound is eclectic. What do you think helped define it?
I grew up listening to a bunch of different genres. My mom loved listening to pop, rock en español. My dad would listen to more regional stuff like Los Bukis, Vicente Fernández. My brother would listen to rock [and] alternative, like Metallica, and my sister was more into psychedelic EDM, almost. A mix of everything. I loved music while I was growing up and it was natural the way it came about.
You learned to play the guitar on YouTube. How complicated is that for someone who wants to follow in your footsteps?
I was 7 years old when I learned how to play. At first, I’d watch tutorials for the basics but when it came to learning entire songs, it was more of just watching the artist or musician play the guitar and copy what they did. Also, a lot of older songs didn’t have tutorials. I remember my dad would ask me to learn to play songs by Joan Sebastian or Los Bukis and he’d pay me $5 for a song. I mean, for a 7-year-old that was a lot of money. It was kind of my way of making $20 for the weekend. I was collecting some royalties back then. (Laughs.) But I also really loved music, so it never felt like a chore.
After you wrote your first song, who did you first show it to?
I showed my friends, and they motivated me to just keep making my own music. They were the first ones to say, “You’re kind of good.” I didn’t believe them at first but a part of me did, so that motivated me. I kept showing them the songs I was writing and asking what they thought. I was a little nervous to show them, but it wasn’t anything like an audition or anything too serious — if they didn’t like it, cool. It just meant I had to keep trying.
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Besides your father, your friends also exposed you to regional Mexican music. Tell me about your connection with the genre.
When they started showing me, it was around when T3R Elemento was dropping music. Their [2017] song “Rafa Caro” stood out to me. I thought, “I actually like this.” At the time, I wasn’t really listening to regional music; it was more like my dad’s mariachi or traditional music. A couple of years later, when Natanael Cano dropped [his 2019 album] Corridos Tumbados, it changed everything for me. He really took a big step and just changed the whole style of corridos. A lot of people adapted to that quickly.
Once you established your sound, how did you go on to make this a full-time career? Who helped you get everything up and running?
I started posting my videos [singing covers] on TikTok and Instagram. After I started getting recognition and seeing a lot of comments supporting me, it motivated me to write my own music. I dropped my first song three years ago, and that song was a big change for me. I was just doing TikToks and then labels started reaching out. It was like a mini dream come true. It was what I always wanted. I remember being 9 years old, playing the guitar, not knowing the music industry or how to get into it. I would always think, “Once I’m older, I’ll know how.”
Given your age and your fans’ age, do you think they are more open to hearing a lot of different sounds from you versus expecting only one thing?
I feel like Gen Z is fearless when it comes to listening to genres. I would hope they’re not expecting just one specific style from me. But I also have to find a way to experiment without catching them off guard. I need to do it gradually; that way I don’t scare them off.
Do you still try to listen to a variety of music?
I feel like my taste in music is always expanding. Every day I find a song that is different than what I’m normally listening to. The more variety you have, the better the chance of creating new unique music [yourself]. I listen to Miley Cyrus, she’s cool. Lana Del Rey. I remember watching The Great Gatsby and falling in love with her song “Young and Beautiful.” She has those songs that take you somewhere both emotionally and mentally.
Michael Buckner
Are there other producers or artists you’d like to work with?
There’s a couple, like Tainy and James Blake. Also, it’d be an honor to have RYX produce one of my songs. I would also love to collaborate with Post Malone or Miley Cyrus.
You wrapped your Terapia Tour in November. What was the inspiration behind that name?
I would see a lot of comments on social media from my fans, writing comments like, “Your music saved me.” They’re talking about my music like it’s some sort of therapy. So, I made each concert into a session. At the meet-and-greet they’d tell me their stories, which is heartwarming. Some are really sad stories. It made me realize how much power you have in helping these young kids with things they might be going through. I’m at home but my music will always be with them. It’s something I think about a lot. I really don’t want to let them down.
Música mexicana is massive. How do you want to move it forward?
The charts are full of Mexican artists. I’m excited for next year to drop the album and be part of that massive moment. As of right now, my sound is sad sierreño but next year it could change and might not feel or sound like sad sierreño — it could be more alternative, rock and a bit more like all my influences.
What does it mean when you hear that you can move an entire culture forward with your lyrics and your style of Mexican music?
It’s a great role but also a big one. A lot of pressure. But I think I will do my best doing things that feel natural to me.
Despite controversy early this week, Mexican star Peso Pluma will indeed perform at the 2024 Viña del Mar International Festival as previously announced. His participation was confirmed in an official press release sent by festival organizers on Thursday night (Jan. 11).
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“Following the controversy generated in reference to Peso Pluma’s participation in the upcoming edition of the festival, organizers of Viña del Mar International Festival state the festival will not censure or discriminate,” read the release; a festival representative also confirmed to Billboard that Pluma’s performance will go on as scheduled.
The “controversy” the press release refers to is a letter written by René Lues, a Viña del Mar council member, to Viña Mayor Macarena Ripamonti Serrano, asking to cancel Peso Pluma’s performance at the festival during the last week of February. In the letter — published in several media outlets in Chile — Lues says a column written by scholar Alberto Mayol made him, “reflect very much about the music and lyrics of the so-called corridos tumbados, where artists explicitly exult the violence and confrontations of organized crime and corruption, drug dealing and drug cartels: all this together with the ostentation and ambition for money, jewelry, luxury, cars, guns, a life that particularly seduces young people into believing they can easily and quickly achieve everything by ignoring the law.”
It continued, “It’s the so-called narco culture that artists like Peso Pluma put a sound to and validate from their place of great privilege. For this reason, and despite the fame of this musician, considered one of the most popular in the music industry, and his millions of followers, I believe it’s not appropriate to use the channels, resources and public spaces to promote this genre of music and songs linked to drug dealers […] Drug dealing is the biggest tragedy we have in Chile and Viña del Mar and it’s the generator of all forms of delinquency that today overwhelm our country and city.”
However, festival organizers resisted the call to take Peso Pluma out of the lineup, explaining in their statement that, “The biggest Latin festival in the world celebrates the diversity of all artists who step on this stage. Music is universal and describes different realities.”
The release also ticked-off Pluma’s many recent achievements, including winning Artist of the year at the Billboard Latin Music Awards in October. “Viña del Mar also recognizes new musical genres and is expecting a successful close to its six nights where music and talent from different artists will continue to be the pillar of the biggest Latin music festival in the world,” organizers said.
The Vina del Mar International Festival will take place from February 25 through March first in Viña del Mar, Chile. The festival — the longest-running in the Spanish-speaking world — will feature Peso Pluma as its closing act.
See the full lineup here. Headlining performances will stream live on Billboard.com in the U.S.
Bizarrap has blessed fans with a fresh new music session. This time, the Argentine hitmaker is accompanied by Puerto Rican wordsmith Young Miko, who can’t help but get introspective as she narrates her rapid ascent to fame on “BZRP Music Sessions, Vol. 58.”
The collaboration, which dropped on Wednesday (Jan. 10), marks the first time the pair worked together and the first “BZRP” session of the year. Young Miko joins a star-studded roster of artists who’ve teamed up with Bizarrap for one of his ultra-personal music sessions in the past, including Shakira, Residente and Peso Pluma.
Like the artists that came before her, Young Miko doesn’t hold back in her verses, rapping bluntly about the good and the bad that comes with fame. At the end, she expresses gratitude towards those that have always been there. “Ojalá, ustedes, nunca me suelten (I hope you never let go),” she confesses.
Billboard translates the lyrics of “BZRP Music Sessions #58” to English below:
How did we get here?I don’t know how many feet upFirst class to MadridUp here there’s no coverage anymoreI feel like it was only yesterdayI told mommy that I was coming backHome againI don’t know when I’ll see her
But all the while we’re jet skiing in Mallorca (Ah)While we’re both counting the moneyShe who can, can; and she who can’t, can endureMy people are all right, man, that’s all that mattersAnd now for the baby I’m hustling dailyFor her to upload the stories from the BentleyThеy felt the pressurе and now they’re asking for a breakThis is black and white, don’t talk to me about maybe
Baby, here we run fine, I say, I don’t bow downThey ask if they’ve got a chance, hm, I don’t even have an opinionI pull them out of the grave, do they talk about me? I revive themThey say I owe favors. Motherfucker, yeah, I imagine soYeah, man, I saw you outside in line for my showOf course you did, I rememberWhen you talked shit about meYou stuck to my VIP, you were a pussy, pigIf they catch me coming out from the Prada entranceThey think they can read me ’cause they’ve seen me on the coverBiza, turn off the lights, leave me in the darkThat my people turn on the flashes if I ask them to turn them up
But all the while we’re jet skiing in Mallorca (Ah)While we’re both counting the moneyShe who can, can; and she who can’t, can endureMy people are all right, man, that’s all that mattersAnd now for the baby I’m hustling dailyFor her to upload the stories from the BentleyThey felt the pressure and now they’re asking for a breakThis is black and white, don’t talk to me about maybe
Here’s another oneFor those who’ve been around foreverI really hope (I really hope)You never let go of me (Mmm)Even if they see us with champagne that I can’t pronounceEven though all the brands want to sponsor meEven though all my exes want to be the official oneNow it doesn’t mean that I’m gonna changeNo, it doesn’t mean that I’m not normal anymoreMaybe I’m antisocialThat I don’t know how to trust it’s nothing personalIt’s just that if they change color, I don’t want to associate with themIf mine don’t pass, I’m not even going to enterDon’t feel bad, you’re not so specialThey say you talked about me, but you’re walking without a signal
But all the while we’re jet skiing in Mallorca (Ah)While we’re both counting the moneyShe who can, can; and she who can’t, can endureMy people are all right, man, that’s all that mattersAnd now for the baby I’m hustling dailyFor her to upload the stories from the BentleyThey felt the pressure and now they’re asking for a breakThis is black and white, don’t talk to me about maybe
Bizarrap
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Just like in fairy tales, young singer Octavio Cuadras‘ life changed in just a few days. First one of his favorite groups, Marca Registrada, agreed to record his song “Bling Bling” with him, which ended up going viral on TikTok.
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That’s how the song got Maluma‘s attention and, through renowned producer Edgar Barrera, they reached Cuadras’ manager, Christian Gutiérrez. Then, just before Christmas, Cuadras, Marca Registrada and Maluma met in Colombia — and now, very soon, the world will be able to hear the remix of “Bling Bling,” a song that has become the standard of a new movement called “corridos felices.”
At the helm is Cuadras, 23, from Sinaloa, Mexico, who until recently had been experimenting with corridos bélicos without much success; he was just one more in the maelstrom of performers of the regional Mexican subgenre that shook the world last year. So, he set himself the task of creating something different, and wrote about positive things: no violence in the lyrics and, in the music, friendly and fun sounds.
“As always happens, there are people who don’t see it as regional Mexican and don’t accept it, but there are many more who have reacted positively, fortunately,” he says enthusiastically, radiating likability. Indeed, Cuadras is living the dream of going from a few thousand monthly listeners on Spotify to 5.5 million, seemingly overnight.
In an interview with Billboard Español, Octavio Cuadras tells how this series of fortunate events happened for his life and career.
How did you decide to take the risk of making songs totally different from what was working for others?
I realized that there was a gap — like the music had stagnated. I don’t want to say that I discovered the wheel, but there was a dead time, I saw a space and I took advantage of it. The idea was to do something different and for everyone to ride that wave. I’m delighted that many do it, that’s what it’s all about.
What do you think about the fact that corridos bélicos altered the traditional forms of Mexican regional music?
There was a lot of criticism and doubts about what was going to happen with regional Mexican, but music is art, so when you create a song you don’t necessarily have to stick to one style.
The happy corridos were not accepted by many people at first, but many more liked the concept. The numbers don’t lie, and it is impressive what is happening. People who didn’t listen to regional Mexican music became fans because of the tune and the instruments. That is a positive thing.
How did the collaboration with Marca Registrada come about?
I told Christian [Gutiérrez], my manager: “I want to record this song ‘Bling Bling’ with Fidel [Osvaldo Castro of Marca Registrada]. If I don’t record it with him, I won’t record it with anyone.” He showed it to him and he liked it. We immediately recorded it, it was uploaded to platforms and all this commotion happened.
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Is Fidel an influence in your career?
I admire him a lot that he is helping young talents; not just anyone does that. A positioned artist like him usually does collaborations with someone who is also famous. However, he has been working with new artists, and that speaks of his vision and human quality.
When I met Fidel [about three months ago] I had 9,500 listeners [on Spotify]. Today I have 5.5 million monthly. I have a lot to thank him for, as well as the public that is supporting me.
How did the remix of “Bling Bling” with Maluma come about so quickly?
I didn’t believe it. Edgar Barrera, whom I admire enormously, contacted my manager, who is a very well known and respected musician in the regional Mexican music scene.
It turns out that Maluma, although he likes corridos bélicos, when he saw what was happening with “Bling Bling” on TikTok he liked it because it was something totally different and that’s how it happened. Suddenly Marca Registrada and I were already traveling to Colombia, so very soon you will be listening to the remix version with Octavio Cuadras, Marca Registrada and Maluma.
You uploaded videos of your time with Maluma; him singing and you playing the guitar as if you were friends for years.
I was nervous to death. I’ve been listening to him since high school, you know, so imagine me sitting there playing guitar and singing with him, it was unforgettable beyond the recording. We congratulated each other on Christmas via messages, so I already consider him my friend; something surreal, I can’t believe it.
After doing something with Maluma, does planning for what comes next get complicated?
Of course, I wondered what comes after Maluma, but we’re going to keep going with all our might. I have a lot more to offer besides the happy corridos. I have a lot of music.
I promise you that this 2024, Octavio Cuadras comes with everything: corridos, cumbias and more. I have been working very hard on the composition. I’ve been waiting a long time for this moment and it came, so I’m going to take advantage of it. But above all, I’m going to enjoy it.
I simply make music — and, if the public likes happy corridos, we follow that way. But if not, we have everything to offer them.
Now many artists will want to collaborate with you. Are you aware of that?
I have already done several songs for the new Marca Registrada album, and in a few more days I will be recording with Grupo Firme. I would like to collaborate with Fuerza Regida, Natanael Cano and someone special, Arcángel.
Would you like to do something with Xavi, who is taking regional Mexican music to new heights?
Of course, my respects to Xavi. We should be happy that more regional Mexican [artists] are moving forward. The artists who are already there, already have their place. It’s great that people also support the new ones.
You have had a contract with Universal Music’s Fonovisa label since before this success came along.
That’s right, my manager and I went to Universal for a kind of experiment, the “bélico indie” concept. We never imagined what would happen, and the truth is that we were already working very well beforehand, with many plans that will now continue.
Xavi is already making strong waves in 2024. His latest pair of singles — “La Diabla” and “La Victima” — were released in November, garnering acclaim from fans and critics alike. Now, “La Diabla,” released via Interscope Records, is leading the Hot Latin Songs chart for a second consecutive week.
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The romantic corrido, about a man who’s willing to do anything for the woman he loves, also reached No. 2 on the Billboard Global Excl. U.S. and at No. 4 on the Billboard Global 200 chart. This week, the 19-year-old Mexican-American artist born Joshua Xavier Gutiérrez hit No. 1 on the Emerging Artists chart dated Jan. 13.
As he continues to captivate fans with his authentic and romantic approach, Billboard translates the lyrics of “La Diabla” into English below:
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I can eat you how you likeIf only you let yourself be lovedI’m coming for you hot
Baby, I don’t bite, don’t be scaredThere’s no more time to wasteYou only live once
I’m the bad influence and you liked thatYou’re a bad girl, I can tell my loveYou’re a devilLook at how you dance
From one to 10, you’re a millionIf you go with me, only Christian DiorFendi, BalenciagaFor you, I’ll have enough money
Whatever you want, my love, my beautiful, my princessI’ll bring you the moon, and if you allow itYou’ll see that no one will give you what I can
You’re a devil
I’m the bad influence and you liked thatYou’re a bad girl, I can tell my loveYou’re a devilLook at how you dance
From one to 10, you’re a millionIf you go with me, only Christian DiorFendi, BalenciagaFor you, I’ll have enough money
Whatever you want, my love, my beautiful, my princessI’ll bring you the moon, and if you allow itYou’ll see that no one will give you what I can